Winds and Sails after March

In the realm of communication, I will proceed axiomatically. However, determining which axiom to start is difficult without a series of reservations and justifications. The first choice would be to opt between the options conceived by Eugenio d’Ors, such as different canonical distinctions, separating category (the movements of the air) from anecdote (the emblematic poetry par excellence of Ausiàs March, Veles e vents). The choice is perhaps unavoidable, yet I will not make it, as the category in a volume so programmatically open from the very title, which, in a Mozartian manner, alludes to the idea of caprice (I capricci dell’aria), opposes the same concept of a closed or concluded text. I adopt a form of compromise, as Freudian followers of Francesco Orlando’s lesson would say, which responds to the only proposal that, at least virtually, I foresee in both fields: inversion. Choosing the anecdote with which March’s poem opens, from which I take my starting point, I would be drawn into its evolution into a representation of the so-called macro erotic metaphor that marked the dawn of modern or neoclassical poetry in the geographic and cultural centre of fourteenth-century Tuscany.